Presley’s reign continues on ‘Elvis at Stax’

Elvis Presley in 1972, the year before he laid it down at Stax. (Courtesy of Steve Barile)

As everyone knows, Elvis Presley was the undisputed King of Rock ‘n’ Roll.

But, amidst all of the legend and historical importance, something crucial gets left out all too often: the man was a consummate entertainer, and a hell of a singer. And now, we have a new box set that proves it, time and again, in spectacular fashion.

Now available through RCA/Legacy Recordings, “Elvis at Stax” marks the 40th anniversary of Presley getting down to business for a handful of ridiculously fruitful 1973 recording sessions at Memphis’ Stax Recording Studios.

Backed by a crew of top-shelf session musicians, including members of the MG’s and Presley’s own TCB band, the King is in fine form here, tearing into every cut with gusto.

The essential three-disc box set includes 28 master recordings, as well as 27 outtakes, combined in one package for the first time. Recorded in July and December of 1973, these sessions resulted in six singles, but the material was originally broken up into multiple piecemeal releases, including the LPs “Raised on Rock/For Ol’ Times Sake” (1973), “Good Times” (1974) and “Promised Land” (1975).

With all of his Stax work gathered together in one place, the culumative prower of the work really hits home. Still riding high from the invigorating career resurgence that resulted from his ‘68 comeback special, Presley was in his comfort zone. Stax was less than 10 minutes away from his home at Graceland, he was surrounded by longtime sidemen and good ol’ boy session players, and he was picking the songs he was singing.

As a result, “Elvis at Stax” makes for a fine introduction for Presley’s work as a whole. The set finds him moving comfortably between the country twang of “There’s a Honky Tonk Angel (Who Will Take Me Back In),” the pure rock ‘n’ roll of “Promised Land” and the deeply-felt gospel of “If That Isn’t Love.”

The collection also offers invaluable insight into Presley’s working process in the studio. Take the agreeable funky rocker “I’ve Got a Thing About You Baby.” In the outtake version presented on the set’s first disc, the accompaniment is mostly bass and keys, with minimal drums, guitar and backing vocals, and Presley’s lead vocal is appropriately righteous, almost as if he’s leading his own secular service.

Then, there’s the master recording on disc two. The band arrangement is more fleshed-out and the backing players make their presence known, especially the guitars and the backing vocalists. Accordingly, Presley takes a more measured approach with his vocal, providing just the right counterpoint.

RCA/Legacy put this set together in a really smart way. Whereas most collections would open with the “official” versions of the tracks, followed by the outtakes as bonuses, here the first disc and a half are the rough cuts, completes with amicable studio chatter, false starts and general atmosphere. This brings the listener along for the ride with Presley, observing as he refines his vision for this material. Then, it hits you with the masters, the culmination of hisefforts.

Featuring extensive and informative liner notes by Memphis writer Robert Gordon, “Elvis at Stax” is now available as a three-disc deluxe box set, a single CD of the highlights and as a 180-gram double vinyl LP. For more information, visit www.legacyrecordings.com.

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About Alex Biese

An Asbury Park Press staff writer since 2005, Alex Biese is a proud member of the local music community, both as a journalist and a musician. Along with his work for the Press, he has written for outlets including MTV.com and Film Festival today magazine.

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About the Author

Alex BieseAn Asbury Park Press staff writer since 2005, Alex Biese is a proud member of the local music community, both as a journalist and a musician. Along with his work for the Press, he has written for outlets including MTV.com and Film Festival today magazine.E-mail Alex

Jean MikleJean Mikle has worked at the Asbury Park Press for more than 20 years, most recently as an investigative reporter on the Projects Team. In her "other life," she’s a fan and proponent of the Asbury Park music scene, both then (Bruce Springsteen, Jon Bon Jovi, Southside Johnny Lyon) and now (Wave Gathering, The Stone Pony, The Saint) and all sorts of new music.E-mail Jean